The Private Collection of Edgar Degas

When Edgar Degas died in 1917, his enormous art collection, consisting of several thousand paintings, drawings, and prints, came to light. This remarkable assemblage included great numbers of works by the French nineteenth-century masters whom Degas revered - Delacroix, Ingres, and Daumier - and at the same time demonstrated Degas's profound interest in the art of certain of his contemporaries, particularly Manet, Cezanne, Gauguin, and Mary Cassatt. Dispersed when it was sold at auction in 1918 during the bombardment of Paris, the collection is now the subject of both an illuminating exhibition and this accompanying catalogue.In a series of essays, some previously published and some written for this book, major scholars discuss, from various perspectives, Degas's collection and its relation to his own art.

Arts & Photography

Dumas, Ann

Collections, Catalogs & Exhibitions

Metropolitan Museum of Art

Tinterow, Gary

Stein, Susan Alyson

Ives, Colta

The art movement known as Impressionism has not always been as popular as it is today. When it first emerged in France in the last decades of the 19th century, critics reacted harshly, and few paintings were acquired by museums. This book, published to accompany a 1999 exhibition in the USA, explores how Impressionist works made their way into European museums: who collected them, when, and why - and why not. Extensively illustrated, the book presents both scholarly information and anecdote.

Impressionism

History & Criticism

Harry N. Abrams

American collectors, critics, and artists played a key role in introducing Degas's art to the United States. Featuring reproductions of well-known masterpieces and little-known treasures, Degas and America celebrates the artistic savvy of the Americans who helped make impressionism the most popular movement in modern art. Early taste for Degas in America embraced his work in all media-oils, pastels, drawings, prints, and sculpture. Essays by an impressive group of scholars explain how the early collectors of Degas's work helped to shape his career and our image of the artist.

Degas and America: The Early Collectors

Brenneman, David

Individual Artists

Rizzoli

Impressions of France traces the development of the French painted landscape from1860 to 1890, a period of dramatic artistic evolution. Taking as his context the Paris Salons - "the central forum for the display of contemporary art in Paris, and the focus for discussions of the state of modern art" - John House explains how the Impressionist landscapes exhibited there both reflected, and forever changed, the cultural tastes of the age.

Impressions of France: Monet, Renoir, Pissarro, and Their Rivals

Museum Of Fine Arts, Boston

Roos, Jane Mayo

House, John

McMillan, James F.

Museum of Fine Arts, Boston

1900: Art at the Crossroads

Solomon R. Guggenheim Museum

Rosenblum, Robert

Stevens, Mary Anne

Harry N Abrams Inc/Museum of Modern Art

Bequeathed to the Guggenheim Museum by Justin K. Thannhauser, this sparkling collection features important works from the Impressionist, Post-Impressionist and early Modernist periods, including 32 paintings and works on paper by Picasso. In addition to the impeccable reproductions of every work in the collection, this book includes a fascinating new essay on Thannhauser, a leading art dealer in pre-World War II Europe whose family's gallery was the first to represent Picasso as well as the Blue Rider Group. This revised edition includes two essays on the period as well as a dozen insightful texts on the highlights of the collection, which include paintings by Cézanne, Degas, Gauguin, Renoir, van Gogh and, of course, Picasso.

Thannhauser: The Thannhauser Collection of the Guggenheim Museum

FitzGerald, Michael

Easton, Elizabeth

Flam, Jack

Shiff, Richard

Boime, Albert

Collins, Anne

TUCKER, PAUL

PISSARRO, Joachim

Thomson, Belinda

LICHT, Fred

Bailey, Colin

Brombert, Beth Archer

Reff, Theodore)

Weaver, Mary

Guggenheim Museum Publications

At the turn of the last century, academic painters were producing formal works, often with strongly moral overtones, at the same time that a generation of younger artists like Picasso, Matisse, and Kandinsky were exploring revolutionary new methods and ideas. By presenting the range of styles vying for attention at a single point in time, the authors of 1900: Art at the Crossroads challenge the idea of art as a linear progression. The book is the lavish catalog of an exhibition organized by the Royal Academy of London and the Guggenheim Museum in New York. Its schizophrenic theme is suggested in the title of the first essay, "Art in 1900: Twilight or Dawn?" The material is organized into concepts established by the French Academy two centuries earlier--still life, the nude, landscapes, and history paintings--plus sections with more modern relevance such as cityscapes and bathers. Arranging works by theme rather than by artist or movement allows for some brilliant a classical naked Danae by Carolus-Duran is paired with an abstracted Degas nude; a sentimental study of crippled boys by Bastida with a vicious Munch mother-and-child (both paintings titled Inheritance ). The preoccupations of fin-de-siècle society emerge; several different treatments of Salome with the severed head of John the Baptist, for example, embody male fears of the femme fatale and her threat to bourgeois values. The book ends with a useful 70-page section of artist biographies. 1900 is a beautifully produced and stimulating study of a pivotal point in European art history. --John Stevenson

1900: Art at the crossroads

Stevens, MaryAnne

Royal Academy of Arts

In the summer of 1905, the French painters Henri Matisse and André Derain changed the course of art history with their radical color experiments &nbsp; During the summer of 1905, Henri Matisse and André Derain went on holiday in Collioure, a modest French fishing village fifteen miles from the Spanish border. This groundbreaking book examines how two artists, entranced by the shifting light and stunning imagery of the eastern Mediterranean, laid the groundwork for the movement known as Fauvism (from the French fauve, or "wild beast"). Featuring more than 70 paintings, watercolors, and drawings produced by Matisse and Derain during their stay, the book also brings to life their personal and artistic revelations with 21 of their letters, published here for the first time in English. Vivid and engaging texts detail their daring experiments with color, form, structure, and perspective; the scandal their paintings caused when they were exhibited several months later; and how, despite the jeering remarks from critics, these works changed the course of French painting. Emphasizing as never before the legacy of that summer, this publication shows how the two artists' radical investigations galvanized their contemporaries, and how this strain of modernism, created almost by accident, resonates even into the present day. &nbsp; Published by The Metropolitan Museum of Art/Distributed by Yale University Press &nbsp; Exhibition Schedule The Metropolitan Museum of Art, New York (October 13, 2023-January 21, 2024) The Museum of Fine Arts, Houston (February 25-May 27, 2024)

Vertigo of Color: Matisse, Derain, and the Origins of Fauvism

Amory, Dita

Taking as its starting point two very different but equally engaging female portraits, which Renoir painted twenty years apart - Madame Henriot en travesti, a portrait of the Parisian actress dressed as a pageboy, and Christine Lerolle Embroidering, showing the daughter of Renoir's friend the painter Henry Lerolle in a scene from her everyday life - Renoir's Women brings to life the major themes of Renoir's captivating pictures of women with enlightening text and over eighty beautiful illustrations, including some of the most perceptive and intimate portrayals of women ever painted.

Renoir's Women

COLLINS, John.

Merrell Publishers

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